People who love this film really go to bat for it, and there’s a lot to like here. Truffaut was following up his debut The 400 Blows and made a far more self-consciously American-inspired picture, a sort of mash-up of noirish mood, crime film thriller and a bit of comedy (the most ‘French’ element, as far as I can tell). Being based on a hardboiled pulp novel, there’s a lot of plot, and it’s not always clear what’s happening to whom for what reason, but basically washed-up piano prodigy Charlie (Aznavour), who’s hiding from a former life as Edouard after the suicide of his wife (which he drove her towards), gets tangled up in his putz brothers’ problems (and they certainly have a Marx Brothers energy to them). You could say that it’s critically examining his relationships with women, indeed about a certain type of masculine performance, and it’s just a shame that women have to die to deepen his character. That said, this is 1960 and this is probably quite different from what was being made at the time in terms of protagonists (Godard’s heroes seem a lot more unexamined in some respects). I liked it and admired it, but have never yet fallen in love with this film.
FILM REVIEW: Criterion Collection
Director François Truffaut; Writers Truffaut and Marcel Moussy (based on the novel Down There by David Goodis); Cinematographer Raoul Coutard; Starring Charles Aznavour, Marie Dubois, Nicole Berger; Length 81 minutes.
Seen at home (YouTube streaming), London, Saturday 9 May 2020 (and originally on VHS at the university library, Wellington, April 1999).